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Others
364 Items
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Tokobo Yu - Imbe Hidasuki Beerglass
5,500 YEN
size : W6.3cm×6.2cm×H12.9cmThey inherit the careful and quiet style of Yuho Kaneshige.
They were too afraid to use Bizen clay when the studio was first formed.
You can tell they take very good care of their clay.
On the inside, fine and closely spaced potter’s wheel marks remain,
while the outer surface has been thrown so as to leave as few wheel marks as possible,
creating a strikingly different impression when viewed from both the inside and outside after finishing a drink.
This is a rather slender beer glass, yet it holds a practical volume of approximately 140cc—just the right size for refined enjoyment.
Most striking is the thinly crafted rim, which reflects Toukoubou Yu’s passion for enhancing the taste of beer through craftsmanship.
The delicate Hidasuki , created using an electric kiln—a technique inherited from Yuho Kaneshige—begin at the mouth and gracefully lead the eye into the deep interior of the cup, offering a captivating visual experience.
Koichiro Isezaki - Bizen Yunomi
11,000 YEN
size : W7.9cm×7.8cm×H8.5cmKoichiro Isezaki is Jun Isezaki's eldest son.
He uses the same hole type kiln (called Anagama in Japan) as his father and father's disciple.
This is a freshly fired piece from the August 2025 kiln.
It showcases a textbook example of Anagama firing, with a stunning contrast between white and amber-toned clay surfaces, interspersed with a variety of vibrant Yohen (kiln effects).
While the form is a simple cylindrical Yunomi, the design below the waist is rather distinctive. The piece features a stepped waist and a rounded base, giving it a unique and engaging character.
The clean and refined coloration, characteristic of Anagama firing, is beautifully paired with an understated yet stylish design. This synthesis results in a piece that fits seamlessly into modern living spaces.
Given its shape and size, it can also be enjoyed as a shochu cup or a rock glass.
Delivered in a paulownia wood box, it is also an excellent choice for a gift or commemorative item.
Koichiro Isezaki - Bizen Yunomi
11,000 YENSold out
size : W8.0cm×7.9cm×H8.2cmKoichiro Isezaki is Jun Isezaki's eldest son.
He uses the same hole type kiln (called Anagama in Japan) as his father and father's disciple.
This is a freshly fired piece from the August 2025 kiln.
It showcases a textbook example of Anagama firing, with a stunning contrast between white and amber-toned clay surfaces, interspersed with a variety of vibrant Yohen (kiln effects).
While the form is a simple cylindrical Yunomi, the design below the waist is rather distinctive. The piece features a stepped waist and a rounded base, giving it a unique and engaging character.
The clean and refined coloration, characteristic of Anagama firing, is beautifully paired with an understated yet stylish design. This synthesis results in a piece that fits seamlessly into modern living spaces.
Given its shape and size, it can also be enjoyed as a shochu cup or a rock glass.
Delivered in a paulownia wood box, it is also an excellent choice for a gift or commemorative item.
Toukoubou Yu - Imbe yunomi
11,000 YEN
size : W6.1cm×6.2cm×H8.0cmThey inherit the careful and quiet style of Yuho Kaneshige.
They were too afraid to use Bizen clay when the studio was first formed.
You can tell they take very good care of their clay.
On the inside, fine and closely spaced potter’s wheel marks remain,
while the outer surface has been thrown so as to leave as few wheel marks as possible,
creating a strikingly different impression when viewed from both the inside and outside after finishing a drink.
This quiet style directly translates into excellent usability.
The thinly crafted rim and the gently fitting body are superb.
To the touch, the surface is so fine that one might imagine a dusting of powder clinging to the fingers—
an exquisite texture on par with Yuho Kaneshige’s renowned Shiro Chawan.
Toukoubou Yu - Imbe Hidasuki Beerglass
5,500 YENSold out
size : W6.4cm×6.3cm×H12.3cmThey inherit the careful and quiet style of Yuho Kaneshige.
They were too afraid to use Bizen clay when the studio was first formed.
You can tell they take very good care of their clay.
On the inside, fine and closely spaced potter’s wheel marks remain,
while the outer surface has been thrown so as to leave as few wheel marks as possible,
creating a strikingly different impression when viewed from both the inside and outside after finishing a drink.
This is a rather slender beer glass, yet it holds a practical volume of approximately 140cc—just the right size for refined enjoyment.
Most striking is the thinly crafted rim, which reflects Toukoubou Yu’s passion for enhancing the taste of beer through craftsmanship.
The delicate Hidasuki , created using an electric kiln—a technique inherited from Yuho Kaneshige—begin at the mouth and gracefully lead the eye into the deep interior of the cup, offering a captivating visual experience.
Toukoubou Yu - Scrape-off pattern Yunomi
11,000 YEN
size : W6.1cm×6.0cm×H8.2cmThis piece features a Sōgyo (grass carp) motif delicately carved using the kakiotoshi technique—
a hallmark of Toukoubou Yu’s meticulous craftsmanship.
A final layer of ash glaze is applied, creating a subtle two-tone contrast between warm white and soft gray.
Its quiet, understated aesthetic translates directly into excellent usability.
The thinly crafted rim and refined, compact form are both elegant and practical.
Rather than a cold, stark white, the piece exudes a soft and inviting warmth.
It beautifully balances the clean, refined clarity typical of white slipware with a subdued, rustic depth—
a harmony of purity and quiet wabi-sabi.
Toukoubou Yu - Imbe Yunomi
11,000 YEN
size : W5.8cm×5.7cm×H7.3cmThey inherit the careful and quiet style of Yuho Kaneshige.
They were too afraid to use Bizen clay when the studio was first formed.
You can tell they take very good care of their clay.
On the inside, fine and closely spaced potter’s wheel marks remain,
while the outer surface has been thrown so as to leave as few wheel marks as possible,
creating a strikingly different impression when viewed from both the inside and outside after finishing a drink.
This quiet style directly translates into excellent usability.
The thinly crafted rim and the gently fitting body are superb.
To the touch, the surface is so fine that one might imagine a dusting of powder clinging to the fingers—
an exquisite texture on par with Yuho Kaneshige’s renowned Shiro Chawan.
Toukoubou Yu - Imbe Hidasuki Beerglass
5,500 YENSold out
size : W6.5cm×6.4cm×H12.4cmThey inherit the careful and quiet style of Yuho Kaneshige.
They were too afraid to use Bizen clay when the studio was first formed.
You can tell they take very good care of their clay.
On the inside, fine and closely spaced potter’s wheel marks remain,
while the outer surface has been thrown so as to leave as few wheel marks as possible,
creating a strikingly different impression when viewed from both the inside and outside after finishing a drink.
This is a rather slender beer glass, yet it holds a practical volume of approximately 140cc—just the right size for refined enjoyment.
Most striking is the thinly crafted rim, which reflects Toukoubou Yu’s passion for enhancing the taste of beer through craftsmanship.
The delicate Hidasuki , created using an electric kiln—a technique inherited from Yuho Kaneshige—begin at the mouth and gracefully lead the eye into the deep interior of the cup, offering a captivating visual experience.
Toukoubou Yu - Imbe Yunomi
11,000 YENSold out
size : W6.0cm×5.9cm×H8.0cmThey inherit the careful and quiet style of Yuho Kaneshige.
They were too afraid to use Bizen clay when the studio was first formed.
You can tell they take very good care of their clay.
On the inside, fine and closely spaced potter’s wheel marks remain,
while the outer surface has been thrown so as to leave as few wheel marks as possible,
creating a strikingly different impression when viewed from both the inside and outside after finishing a drink.
This quiet style directly translates into excellent usability.
The thinly crafted rim and the gently fitting body are superb.
To the touch, the surface is so fine that one might imagine a dusting of powder clinging to the fingers—
an exquisite texture on par with Yuho Kaneshige’s renowned Shiro Chawan.
Toukoubou Yu - Imbe Yunomi
11,000 YENSold out
size : W6.3cm×6.4cm×H7.9cmThey inherit the careful and quiet style of Yuho Kaneshige.
They were too afraid to use Bizen clay when the studio was first formed.
You can tell they take very good care of their clay.
On the inside, fine and closely spaced potter’s wheel marks remain,
while the outer surface has been thrown so as to leave as few wheel marks as possible,
creating a strikingly different impression when viewed from both the inside and outside after finishing a drink.
This quiet style directly translates into excellent usability.
The thinly crafted rim and the gently fitting body are superb.
To the touch, the surface is so fine that one might imagine a dusting of powder clinging to the fingers—
an exquisite texture on par with Yuho Kaneshige’s renowned Shiro Chawan.
Toukoubou Yu - Porcelain scrape-off pattern Yunomi
11,000 YEN
size : W6.8cm×6.7cm×H9.5cmThey inherit the careful and quiet style of Yuho Kaneshige.
The inside of the work is full of fine finger marks, but the outside is as calm as the surface of still water.
The edges are very thinly made and very comfortable to use.
This piece is made of semi-porcelain clay covered with white glaze and scraped down to depict flowers and birds.
It is finished with a celadon glaze and has a beautiful light blue color.
Shinjiro Aika - Bizen Suzumekuchi Kotsubo
39,600 YEN
size : W10.0cm×10.0cm×H10.4cHe learned the technique of ceramic art from Anjin Abe.
And he is making works by applying the multiple firing method devised by Anjin Abe.
The works of Shinjiro Aika are best described as “beyond profitability.”
He is a ceramic artist who relentlessly fires his pieces until they meet his own high standards, resulting in truly outstanding creations.
While prolonged firing often hardens Bizen clay and diminishes its color, this piece by Shinjiro Aika reveals a rich, moistened surface with deep earthen tones, centered around a vibrant Hidasuki pattern. It offers a glimpse into a new form of Bizen that transcends even the aesthetics of old Bizen, which Shinjiro Aika has long pursued.
At the center of the piece, a pale, dry-textured area emerges as a contrasting highlight, while scattered traces of Hidasuki evoke the appearance of classical Bizen ware with remarkable authenticity.
The simple, unpretentious form reflects Shinjiro Aika’s deep admiration for old Bizen and old Shigaraki. Its understated shape offers great versatility, making it well-suited for use as either a Katakuchi sake pourer or a small flower vase.
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